Brian Grazer Quotes

When I got into the music industry, I wasn't focused on being the most famous artist or even getting a major record deal. It was just to make music on my own terms or create my own image, do my own hair, do my own makeup.

People like consistency. Whether it's a store or a restaurant, they want to come in and see what you are famous for.

A lot of artists get famous overseas first. I don't know what it is here. I have a large underground following in the U.S., but I don't get the airplay as much as I do in, say, Australia. Over there, they can play whatever they like, it seems, but not so much here.

I think it's shameful when you sell out. It depends what kind of artist you wanna be, but I don't want my name anywhere near another brand.

I made a decision back in 1978 that, in a trade off for money when I directed Halloween, I would have my name above the title in order to basically brand these movies my own.

If you love a young writer, maybe the best thing you can do is give them a little bit of space.

Yeah, I like to be the maker of the art. And I like and want the money. But I don't really dig being famous.

I just turned 40, and I look at so many performers and so many people who are actually always on time and always have an album out. They don't have actual lives, in my opinion. I feel like I'm so much more than being famous and meeting a musical quota. And I don't know, just the weight of the scrutiny and attention is too weird for me.

People don't need to necessarily see me in the jersey to understand who I am and what message I'm trying to get across with the things that I'm marketing.

In 1997, I was working with Greg Wilson of Red Ball Tiger, our ad agency at the time, when he came up with an addition to the famous slogan 'I guarantee it' that I was known for saying.

I worked with the best - Givenchy, Dior, Yves Saint Laurent - and it gave me an ability to be confident. It turned me into a CEO and a creative director and a brand.

I'm already more famous than I want to be. And yet at the same time, fame feeds your potential as a creative person. You're in a vacuum if you don't have a certain amount of fame.

I be wearing my own merch outside, trying to get more famous.

Image is one of the most important aspects in branding. People identify you and your actions with your name and the product you endorse. The image that you show to fans, followers, consumers, etcetera will affect your marketability and your overall appeal to diverse audiences.

I'm the only man in the world that has made a career with one word: 'Grrrrreeeat!'

Big names and banners bring a lot of visibility to your work and it creates more opportunities for you.

Once we got to the race track, everybody called me Bubba - we created a brand around it. Now it's become a household name.

Branding is everything. A young girl once came up to me and told me I could be famous because I looked just like Richard Branson!

I say, play your own way. Don't play what the public want - you play what you want and let the public pick up on what you doing - even if it does take them fifteen, twenty years.

If we pick recognition over influence we'll be known for all the wrong stuff.

Hopefully, you'll be able to find enough of an audience, each time, that you can keep working, rather than getting caught up in the Hollywood system, which can so quickly become about how much money something makes and how many people went to watch it. It's very alluring. It's such a powerful machine that's playing on you, the whole time.

The power of branding, particularly when it comes to automobiles, is overwhelming. You go back to the seventies and eighties with the General Motor situation I was describing? Literally, folks, the Camaro and Firebird were identical cars but you'd so have the Firebird buyers, the Pontiacs, "No way I'm I buying that Camaro!" " It's the same car." "Nooooo, it is not. That is a Chevy and mine is a Pontiac."

I was so lucky that I didn't have anyone to copy, be impressed by. I had developed my own style, I was creating before I knew there was a Thurber, a Benchley, a Price and a Steinberg. I never saw their work until I was around thirty.

An artist should write for himself & not for an audience. If the audience likes it, great. If not, they can keep away.

I came in as an established artist. People were hiring me for what I did and for who I was. I think that has given me a vast amount of leeway; I feel so lucky that I came in that way.